Justin Chang

Justin Chang The New Yorker 6 days ago Possible Love is a multitasking marvel: a drama about the fragility of unions, in every sense, wrapped in a seminar on documentary ethics, but one with implications for the fiction realm, too. Go to Full Review Possible Love (2026) 100% - -

Justin Chang NPR Oct 20, 2026 This is a documentary to see in a packed house, on an enormous screen. The images have a crystalline clarity, but mysteries abound in every frame. Go to Full Review You Can See Everything (2026) 96% - -

Justin Chang The New Yorker Oct 14, 2026 Misty Green is a small yet principled corrective to the larger problem it diagnoses: it’s a terrific vehicle for a Black actress who knows how few terrific or even good vehicles there are for Black actresses. Go to Full Review Misty Green (2026) 61% - -

Justin Chang NPR Oct 8, 2026 I've watched NAZA twice now, both times in a state of quiet horror and fury -- and with enormous admiration for Abraham and Szor's courage in holding their government to account. My admiration extends to the unerring precision of their filmmaking. Go to Full Review NAZA (2026) 100% - -

Justin Chang NPR Oct 8, 2026 Played by a terrific John Cho, wearing gold dental grills and a cowboy hat, the pastor is one of the film's more fascinating creations: a gun-loving ex-military man who shares Latif's belief in the cleansing power of violence. Go to Full Review Your Mother Your Mother Your Mother (2026) 96% - -

Justin Chang The New Yorker Oct 1, 2026 Iñárritu’s technique transcends gimmickry. The sense of a continuous, organic form, which he chased so aggressively in “Birdman,” springs to life here in all manner of unintended ways. Go to Full Review Digger (2026) 53% - -

Justin Chang The New Yorker Sep 29, 2026 Oppenheim zooms in on his characters so intently that he seems ready to claw their faces off, the better to penetrate through to their darkest depths. But what would he find? Pattinson’s dazzlingly contoured performance doesn’t provide any easy answers. Go to Full Review Primetime (2026) 86% - -

Justin Chang The New Yorker Sep 12, 2026 Whatever Greengrass’s flaws as a spinner of historical tales, an uncertainty about exactly what story he’s telling has never been one of them -- until now. Go to Full Review The Uprising (2026) 57% - -

Justin Chang NPR Sep 11, 2026 Too much of Practical Magic 2 is given over to a grindingly mechanical mystery plot that takes forever to unravel, though the climax is never in doubt. Go to Full Review Practical Magic 2 (2026) 36% - -

Justin Chang The New Yorker Sep 4, 2026 The movie has a goofy, galumphing beauty; it’s a bigger, dumber, shinier object than its predecessors, yet it also manifests the crudely violent small-town comedy that is one of Na’s signatures. Go to Full Review Hope (2026) 80% - -

Justin Chang NPR Aug 21, 2026 On paper, that might sound too obvious -- the bohemian artistes versus the high-strung corporate sellout. But the actors, especially Compère as Tasha, are too vivid to be reduced to mere types. Go to Full Review Dreams in Nightmares (2024) 100% - -

Justin Chang The New Yorker Aug 18, 2026 Spielbergian humanism and Mitchellesque alienation are an oil-and-water combo, and the upshot, even within the context of a big-budget piece of summer escapism, is a nagging callousness. Go to Full Review The End of Oak Street (2026) 86% - -

Justin Chang The New Yorker Aug 10, 2026 The poetry of this movie, in short, is in Dafoe, who gives his finest performance in years -- a long trek from bliss to despair to disillusionment, and finally to the odd contentment and consolation that disillusionment often brings. Go to Full Review Late Fame (2025) 94% - -

Justin Chang The New Yorker Aug 10, 2026 It’s a youthful romance, a goofball gross-out, and a “Karate Kid” fable rolled into one. You might get so caught up in the comedy, familiar beats and all, that you forget you’re watching a bio-pic. Go to Full Review Tony (2026) 93% - -

Justin Chang The New Yorker Jul 31, 2026 The Samurai and the Prisoner may be set centuries earlier, but it’s a Kurosawa movie through and through. The talk is grave, the editing unhurried; the camera holds multiple characters in the frame and watches them from a sedate remove. Go to Full Review The Samurai and the Prisoner (2026) 97% - -

Justin Chang The New Yorker Jul 28, 2026 The verbal and visual building blocks of Araki’s comedy -- quick-witted one-liners, exuberant sex scenes, sartorial gags, garish décor -- express a dazzling, totalizing sense of optimism. Hoffman’s lummoxy charisma fits right into this scheme. Go to Full Review I Want Your Sex (2026) 91% - -

Justin Chang NPR Jul 16, 2026 You realize why Nolan wanted to make this film, and why it feels like a prism through which his earlier films can be more deeply understood. For him, no less than for Odysseus, The Odyssey feels like a homecoming. Go to Full Review The Odyssey (2026) 94% - -

Justin Chang The New Yorker Jul 1, 2026 As a story of time and tide waiting for no man, “Rose of Nevada” is haunting, bittersweet, and a little scary. As a filmed object, it’s even more fascinating. Go to Full Review Rose of Nevada (2025) 92% - -

Justin Chang The New Yorker Jun 23, 2026 It’s as if the movie itself grasps that four is better than two -- a lesson that has a very specific application where the characters are concerned. Go to Full Review The Invite (2026) 96% - -

Justin Chang NPR Jun 22, 2026 As someone who was pretty mixed on Toy Story 4, I can't say I was looking forward to yet another sequel. Which just goes to show you should always keep an open mind: Toy Story 5 is a significant improvement and, at its best, a delight. Go to Full Review Toy Story 5 (2026) 92% - -